Primary Teaching Areas

My teaching is interdisciplinary, coalescing around the creative use of emerging technologies in the field of digital media, with a focus on gesture and sound in particular. My classes combine technical training with critical discourse. Likewise, I challenge students engaged in this work to address why it is important, and encourage thinking about potential domain-shifts: for instance, how meditating on the qualities that produce a good musical instrument can be translated to other fields. The exploding interest in gesture in the field of human/computer interaction is one such space. In this way, firsthand performance-practice is discovered to be a vital and eminently translatable form of academic research.

Musical Instrument Design & Performance

I have expertise in all aspects of musical instrument design and production. As an accomplished instrumentalist, I also mentor aspects of stage presence and corporeality.

  • OpenSCAD (scripted CAD) and Cura for 3D Printing. While in-house printing is possible, I recommend Sculpteo for small, precision parts and 3DHubs for larger ones.
  • Arduino IDE for microcontroller programming. My preferred boards are Adafruit's "Feather" series.
  • DipTrace for circuit design and PCB layout. I use Bay Area Circuits for printing.
  • I have found FlexPoint flex sensors to be the most reliable. Other excellent part/sensor sources are SparkFun, Adafruit, and Digikey.
  • Wekinator and/or MaxMSP for gesture recognition.
  • MaxMSP and/or Max4Live for networking, mapping, and media (re)synthesis.

Real-Time Systems and Music Production

I teach real-time performance software and concepts, and major software environments used in music production, although I am in favor of teaching concepts rather than tools. I communicate this in tandem with conceptual and historical introductions to acoustics, reverberation algorithms, compression, synthesis.

  • Logic Pro
  • Reason
  • Ableton Live | Max4Live
  • MaxMSP for real-time systems
  • LilyPond for musical notation

Aesthetic Theory & Subjectivity

My training in philosophy and critical theory, and advanced degrees in German studies and political theory, give me a unique perspective on the production of subjectivity in performance, composition, electroacoustic praxis, and instrument building.

  • Ambient Aesthetics
  • Embodied Cognition
  • Gesture Theory
  • German Philosophy (esp. Kant, Schopenhauer, Nietzsche, Heidegger, Adorno)
  • Post-Digital Aesthetics
  • 20th Century Literary & Critical Theory

Sample Lecture & Reviews

Computers and Music | Brown University | "Ambience in the 1990s"